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from gasolinealleyantiques.com
Some of the soon to be exiled 619 Western artists held a hastily arranged art sale in the parking lot outside the doomed studio building. Almost as much fun as the real studio experience. Almost.
Meanwhile in Belltown, CoCA exhibited all 100 pieces of Indonesian artist Haris Purnomo’s work Visitation. These identical white infants with tattoos on their faces and knife blades emerging from their wraps had previously been displayed, partly, at CoCA’s little side street showcase booth near the Olympic Sculpture Park. The whole installation goes next to the Saatchi Gallery in London.
pride parade viewers at the big popsicle
(A relatively long edition this time, bear with.)
You still have a chance to view the five “MadHomes” along Bellevue Avenue E. They’re open to the public until this Sunday, Aug. 7, noon to 7 p.m. each day.
These house-sized art installations are the brainchild of Alison Milliman. Her organization, MadArt, is dedicated (according to its web site, madartseattle.com) “to bring art into our lives in unexpected ways, and to create community involvement in the arts.”
MadArt curated last year’s sculpture show in Cal Anderson Park and a store-window art display in Madison Park.
But MadHomes vastly outscales either of those projects.
The show’s contributing artists have taken the outsides of the four houses and the insides of three of them (one was still occupied as a residence), plus their front yards and side setbacks, as a three-dimensional canvas, as a setting for “site specific” and interactive works meant to last only three weeks.
And because the houses are going away (to be replaced by a long-delayed condo project). the artists didn’t have to leave the structures the same way they found them.
This meant Allan Packer, one of the show’s artists, could cut holes in floors, walls, and ceilings, from which his cut-out animal figures emerge to greet visitors (as aided by large mechanical devices mainly hidden in the basement).
It also meant Meg Hartwig could freely nail big wood scraps to both a house and to a tree in front of it (which will also be lost to the condo project).
You’ll also see a lot of work that plays in less “invasive” ways with its setting.
These include the SuttonBeresCuller trio’s “Ties That Bind,” comprising 12,000 feet of red straps winding back and forth through one house and along a setback to a second house, creating a labyrinth through the side yard.
They also include Troy Gua’s “Chrysalis (Contents May Shift In Transit),” in which one house has been entirely covered in shrink wrap with a giant bar code sticker.
There are also pieces that could theoretically be re-installed elsewhere upon MadHomes’ conclusion.
One of these is Allyce Wood’s “Habitancy.” She’s mounted “tension-wound” string on and between upstairs walls in one of the houses, depicting silhouettes of imagined former occupants (including at least one dog).
Another is Laura Ward’s “Skin.” Ward painted one of the houses with latex rubber, then peeled it off, then stitched those molded pieces into a smaller replica of the house, placed over a tent-like frame.
•
None of this would have been possible without the gracious cooperation of the houses’ current owner, the development company Point32. That company’s going to turn the quarter-block into one long three-story building and an adjoining six-story building at the lot’s north side. The project will adjoin and incorporate the existing Bel Roy Apartments at the northeast corner of Bellevue and East Roy Street.
MadHomes has also drawn the approval of the lot’s previous owner, Walt Riehl. He happens to be an arts supporter and a member of the Pratt Fine Arts Center’s board.
Besides being a fun and creative big spectacle, MadHomes means something.
It’s a call for more whimsy and joy in the everyday urban landscape.
Especially now that the new-construction boom has resumed after a two-plus year pause, at least on Capitol Hill.
So many of the big residential and mixed-use projects built on the Hill in the previous decade lack these very elements.
Oh sure, a lot of them are all modern and upscale looking, with clean lines, snazzy cladding, and exterior patterns that make every effort to hide the buildings’ boxy essences.
But there’s something missing in a lot of these places. That something could be described as adventure, delight, or fun.
I’m not asking for huge conceptual art components, of a MadHomes scale, installed into every new development. That wouldn’t be practical.
But there could be little touches that attract a passing eye and give a momentary lift to a tired soul.
POSTSCRIPT: Eugenia Woo sees MadHomes as not a temporary artistic triumph but an urban preservation defeat. At the blog Main 2 (named for an old Seattle telephone exchange), Woo states that the homes, while under-maintained in recent years, could and should have been kept:
Everyday (vernacular) houses for everyday people represent Seattle’s neighborhoods. The drive for increase urban density does not always have to come at the price of preservation and neighborhood character.
(Cross posted with the Capitol Hill Times. Thanks to Marlow Harris of SeattleTwist.com.)
I’ve spent the day lost in the past.
I’ve done that before. But never quite like this.
I’ve been buried this afternoon in old Seattle Times articles, ads, and entertainment listings. They’ve been scanned from old library microfiche reels and posted online by ClassifiedHumanity.com.
The site’s anonymous curators scour back SeaTimes issues from 1900 to 1984.
The site’s priorities in picking old newspaper items include, but are not limited to:
Go to Classified Humanity yourself. But don’t be surprised if hours pass before you walk away from the computer.
bachmann family values?
Barack Obama ate John Boehner’s lunch, and then he turned Boehner out to go preach to his conservative colleagues that this eating of the lunch by Obama is actually politically good for them.
Another summer, another Seafair Torchlight Parade, the oldest, biggest, and (alas) clothed-est of Seattle’s three big summer parades.
It’s been billed by some local wags as a taste of the suburbs in the middle of town. But that’s not quite the case. A lot of the “forgotten Seattle” shows up too. Working families, even with children. Public school children even.
Some attendees chose to forego the standard T-shirts and shorts uniform.
Teachers’ union picketers showed up to appeal to the family friendly crowd, campaigning for increased school funding and fewer state-mandated tests.
Then the parade itself got underway with its new title sponsor, Alaska Airlines (replacing rival Southwest). In keeping with nostalgia for pre-TSA era air travel, Alaska featured an all-flight-attendant drill team.
Mr. Drew Carey was a thorough professional, shaking hands, kissing babies, selling soccer scarves.
Then, at last, came the real entertainment. The drill teams.
The marching bands.
The floats.
The Clowns and the Pirates.
Yes, the parade could become “hipper” (even while remaining G rated).
But why should it?
Squares need some celebration in their lives too.
qr code carpet by nikolaus gradwohl; from local-guru.net
sorry, maude, you didn't make the list
Thursday was “Last Thursday” at the beloved 619 Western art studios. This low-key ending came after 30 years of magic and memories (including two events curated by this web-correspondent), and about a year of wrangling with the city and the state. (The latter wants to drill its viaduct replacement tunnel under the building, and claims the 1910 warehouse structure’s too unsound, in its current condition, to withstand being dug under.)
The 100-some tenants in the building’s six floors thought they had an agreement to get out of the building by next February, while the city offered relocation assistance. Any hope of actually preserving 619 for artists, during or after any rehab, seemed to dissolve away during these negotiations.
Then, earlier this month, came the surprise. The city decided the whole place was just too unsafe even for short-term occupancy. Everybody had to be out by October 1. Public events in the building were banned effective Aug. 1.
One final “First Thursday” was hastily scheduled, retitled “Last Thursday.”
One last chance to ride Seattle’s third coolest elevator.
One last chance to pay respects to the memory of Su Job, the building’s heart and soul for so many years.
One last chance to admire the familiar rickety stairwells.
One last chance to admire, and buy, locally-produced art in the corridors and the studios. (Only some of the building’s spaces were open this final night. Many tenants were already packed or packing up.)
Yes, 619’s got structural damage.
Yes, it needs shoring up, even if the tunnel project’s stopped.
And maybe its occupants would have to split the premises during a rehab, if not sooner.
But it still didn’t have to go down like this.
And I still want the place preserved, as an artist space.
(Some artists will sell their wares outside 619 next First Thursday, Aug. 4. That same evening, a tribute show to the building, Works of History: 30 Years of Anarchy, opens at Trabant Coffee, 602 2nd Ave.)
menu screen from 'mickey, donald, goofy: the three musketeers'